First and foremost, I would like to express the excitement and dedication I have put into this project. Being able to delve into the life and work of a Galician composer who was completely unknown to me just a few years ago has been an enriching journey—one that is far from over. There is still much to discover about Eugenia Osterberger, and even more work to be done to bring her music to a wider audience, as well as to uncover and promote the works of other female composers who have been overlooked by history.

The main research question of this project, “How can I spread the work of a Galician female composer engagingly and through my performance?”, can be considered almost fully answered, though it has yet to be implemented in real practice. By gaining a deeper understanding of Eugenia’s music, arranging some of her pieces for oboe, and designing a concert prototype, I believe I have laid the groundwork to promote her music while simultaneously expressing myself as an oboist and artist through my interpretation of her works. However, what remains to be done is putting this idea into practice—realizing the Eugenia Osterberger concert-performance, collecting audience feedback, and analyzing both my personal experience and the impact on the public. This is an aspect I would like to explore in the future, gathering data from live performances to improve the concert format and refine my conclusions.

Osterberger’s compositions undoubtedly enrich the cultural and musical heritage of Galicia and the classical music landscape as a whole. Through her music, we glimpse the struggles she faced as a woman composer in her time, as well as the emotional depth and sincerity in her works. Although her pieces are mainly limited to shorter forms and smaller genres, they exhibit a remarkable sensitivity—music that, to me, feels honest and heartfelt.

One of the sub-questions of this research addressed whether her music could be effectively adapted for oboe. The answer is yes—the arrangements have proven to work well, and the initial audience feedback has been overwhelmingly positive. However, the way I chose to arrange the pieces is just one possible artistic approach. There is no absolute “correct” way to adapt music, as arranging always involves personal decisions that reflect the arranger’s own vision.

The arranging process itself was both an exciting and challenging journey. As this was my first time arranging music, I encountered many learning experiences and obstacles along the way. It allowed me to deepen my understanding of instrumentation, orchestration, and musical adaptation, while also fostering my creativity and problem-solving skills. Seeing the arrangements come to life in performance was incredibly rewarding and strengthened my connection with Osterberger’s music.

After arranging Neve, one of Osterberger’s original works for voice and piano, I found myself wondering: "Am I missing something without the text?". While the oboe can effectively substitute a vocal line, given its lyrical and expressive qualities, the text carries essential meaning that must be conveyed in some way. For future performances of this piece—as well as others originally written for voice—I believe it will be crucial to share the text and its context with the audience. Additionally, I am considering arranging a version for oboe, piano, and voice, where the oboe could either support the singer or serve as an introduction to the vocal line, ensuring a deeper connection to the original intent of the piece.

Through my analysis of Osterberger’s compositions and exploration of the folk elements embedded within them, I discovered numerous connections, which I have sought to define and illustrate in this study. While the influences of Galician and Spanish folklore are often subtle or concealed in some of her works, they remain undeniably present. Osterberger demonstrated a deep understanding of musical styles and skillfully composed within specific genres and artistic inspirations. In her Galician melodies, she masterfully captures the distinctive characteristics of Galician folk music, preserving its essence with remarkable authenticity. However, in her salon pieces, the presence of traditional influences is less pronounced, as she aligned more closely with the European compositional trends of her time.

Furthermore, developing a narrative that connects Eugenia Osterberger’s life and music with my own musical journey has helped me cultivate my imagination and explore new artistic approaches. Through this process of designing the pilot concert, I have learned to seek connections in music that inspire me and that I feel compelled to share with an audience. This is a skill I can refine further as I design future concerts and performances, including my Final Master Recital. It has already helped me consider how I can structure, design, and communicate future projects in a way that adds greater meaning—both for the audience and, more importantly, for me as a performer. After all, if I enjoy the experience, I can transmit that joy to the audience as well.

Finally, I believe that this research was essential in strengthening my PIA, just as my PIA was crucial for testing the arrangements and giving a purpose to my performance of these pieces. My PIA will provide a high-quality professional video-trailer, which I can present to venues, municipalities, and concert organizers interested in supporting, programming, or sponsoring this concert. Meanwhile, my research has allowed me to create a solid and well-informed foundation for this project, ensuring that my pilot concert is built upon a deep understanding of Osterberger’s music and a thoughtful artistic vision.

Limitations

• Some limitations of this study should be acknowledged:
• The analysis of certain pieces could not be conducted in-depth, partly due to the lack of recordings, which made it difficult to assess the compositions fully.
• Some scores were inaccessible, as they are located in archives requiring in-person visits, belong to private collections, or have not yet been officially located.
• More complex piano pieces were not arranged, as this was my first experience arranging, and I felt that the results might not be satisfactory. I plan to revisit these pieces in the future.
• Not all arranged pieces have been recorded yet. The remaining recordings are scheduled for March or early April 2025.

Future Research Directions

Looking ahead, several future research paths could be explored:

• Conducting a deeper analysis of Osterberger’s French works and possibly arranging some of her more complex piano pieces.
• Exploring specific audience engagement techniques and applying them to different concert formats featuring Osterberger’s music or other repertoire.
• Expanding research to include other Galician female composers, as well as male composers, and arranging pieces from a broader selection of composers to create a more diverse concert program

Overall, this research has been an incredibly valuable experience, and I look forward to continuing my journey of performing and sharing the music of Eugenia Osterberger.